The New York Times sends cub reporter (Get it? Cub reporter! Oh, La Cieca is killing herself with the puns!) Zachary Woolfe to the movie palaces of the heartland to assess the impact of the Met’s HD program.
You’ve heard what it sounded like; now you can see Saturday afternoon’s HD of La traviata, thanks to YouTube. Read more »
Here’s a taste of what’s in store for the Met’s HD audience on Saturday, as well as a spectacle audiences for later performances will likely miss. (Oh, haven’t you heard? After the broadcast, Natalie Dessay traditionally suffers a relapse of her maladie du jour…) Read more »
Here’s a bit of good news for all you Traviata fans with tickets for tomorrow night’s Met performance or Saturday afternoon’s HD.
As suggested in Part I of this piece, to experience Glass’s Satyagraha as a purely aesthetic experience is unfortunately to succumb to a romantic ideology promoting detached reflection on art which is wholly inapplicable to such a politically-charged opera. The idea that Gandhi’s action-oriented philosophy would be packaged and sold for the sake of passive introspection would have bothered him deeply.
That Philip Glass’s opera about Gandhi’s nonviolent civil disobedience should be revived by the Metropolitan Opera in 2011—a year marked by nonviolent revolutions and uprisings around the globe—is timely, to say the least. The most recent production of his Satyagraha (1979) was first premiered by the Met in the spring of 2008 as America stood on the precipice of the most devastating economic crisis in three-quarters of a century.
It is, as Noel Coward remarked, astonishing how potent cheap music is. According to Brockway and Weinstock’s World of Opera, Gounod’s Faust was performed, after a rather lackluster debut in 1859, a thousand times inParis at the Opera between 1869 and 1894—a gobsmacking average of once every nine days.
It was indeed a curious sensation making a late morning trek to East 59th Street, a block devoted to showro0ms for bizarre upscale furniture and lighting fixtures, and then to enter a boutique cinema specializing in Hindi films (the big coming attraction right now is Desi Boyz) — and all this before sitting down in an auditiorium half- full of retirees to see a live performance of Don Giovanni from La Scala. That it worked as a Mozart experience I think can be chalked up to two factors: Robert Carsen‘s production and the constantly improving (if still imperfect) HD technology.